Search results for "critical code studies working group"

[…]“Oil-Fueled Accumulation in Late Capitalism: Energy, Uneven Development, and Climate Crisis.” Critical Historical Studies, vol. 7, no. 2, 2020, pp. 206–40. https://doi.org/10.1086/710799. Marx, Karl. Capital, Volume I. Translated by Ben Fowkes, Penguin, 1976. Panitch, Leo and Sam Gindin. “Finance and American Empire.” American Empire and the Political Economy of Global Finance, edited by Leo Panitch and Martijn Konings, Palgrave, 2008. Shaw, George Bernard. The Perfect Wagnerite: A Commentary on the Nibelung’s Ring. Dover, 1967. Sobel, Robert. The Age of Giant Corporations: A Microeconomic History of American Business, 1914–1992, 3rd ed., Praeger, 1993. Spiro, Joan Edelman. The Politics of International Economic […]

[…]and if what they do is often for harmful or destructive ends, it compels us because it reflects critical understanding of a traditional hierarchy and society that is equally corrupt behind its façade of rightness. One tradition of American antiheroes is closer to this line. These begin with Twain’s Birdofredum Sawin and Huck Finn, moving through Holden Caulfield toward (from Gaddis’s era) Randle McMurphy of One Flew Over the Cuckoo’s Nest. Like the European model, these are Romantic rejectors of an overly rationalized civilization, but unlike the Europeans they are often anti-intellectual and wilfully naïve, hence a greater proportion of […]

[…]philosophy has lost its way. How could philosophy lose its way when philosophy is precisely the critical thinking which propels us forward? By adding form to content we have the possibility of thinking beyond thinking. The Recognitions does just this: It thinks beyond the end of thinking. Gaddis is here attempting to solve the same crisis of the end of philosophy that Kierkegaard was, knowing perhaps that philosophy has been written too straightforwardly and needs to perform stylistically. Far from being abstract or unrelated to the bettering of this world—far from the cries of those who think Gaddis’s novels could […]

[…]revealing, but that the novel itself has much to contribute to existing debates within Translation Studies. Its major themes—originality, authenticity, authorship, even forgery—are central matters of debate in Translation Studies, and while Gaddis himself seems to have had notably “old-fashioned” ideas about how translators should actually handle his novels, the contrast between how his protagonists Otto and Wyatt deal with originality, authorship, and authenticity in The Recognitions gets to the heart of more recent debates about translation as theory, practice, and profession. Translators and translation theorists, therefore, would benefit from reading it. Gaddis and His Translators The Recognitions remains one […]

[…]annotations are evidence of his writerly attention to what he read, and his separate working notes are often where these concerns are centralized. List-making, in these working notes, was an essential part of Gaddis’s workflow: hundreds of such sheets reside in his archive. Our most representative roadmap for Gaddis’s intellectual concerns in the late 1950s, pertaining to Stebbing and the PP, might well be the following page, composed in a fine calligraphic hand, from a folder of loose 1950s notes toward the player project (see Figure 1). This document is exceptional for our study: it presents a host of critical […]

[…]and putting it back together again in order to fully grasp its material being, like the inner workings of a well-crafted clock. As a reader, I probably came well-prepared. Only three years earlier, I had had the privilege of attending the first seminar Hans-Walter Gabler, professor of English Literature at Munich University, offered using his recently published, first-ever critical edition of Ulysses. Naturally, in my early encounters with Gaddis, I deeply sympathized with Steven Moore’s approach as embodied in his Reader’s Guide to William Gaddis’s ‘The Recognitions’ to first and foremost lay bare the literary, cultural, and mythological allusions buried […]

[…]silent because my presentation was just so non-academic. You know these are all people who are working on books, they’re working on chapters in an anthology, they’re working on their doctorate, and it was just a really funny contrast. But it occurred to me at that moment “yet here I am,” you know, so there is something that’s causing a bit of a bridge there to academia. I just sat there and I remember thinking in my mind we’re going to get to the end of this and I’m not going to have been asked a single question, whereas the […]

[…]technological change will reshape the future persist, making the case for the continued value of critical literacies, with an emphasis on critical reading of and making with technology from within the humanities, rather than naïve reading practices and technological determinism in the face of emerging technologies. Works Cited Aarseth, Espen J. Cybertext: Perspectives on Ergodic Literature. Baltimore: Johns Hopkins University Press, 1997. Aguilera, Earl, and Jessica Z. Pandya. “Critical Literacies in a Digital Age: Current and Future Issues.” Pedagogies 16.2 (2021): 103–10. Burn, Stephen J. “The Collapse of Everything: William Gaddis and the Encyclopedic Novel.” In Paper Empire: William Gaddis […]

[…]American life and letters. He discussed a wide range of topics at St. Michael’s, including critical responses to The Recognitions and J R, the pernicious influence of corporatism on American culture, the Protestant work ethic, the philosophy of pragmatism, the promise and degradation of the American Dream, as well as the legacy of Watergate, the win-at-all-costs ethos of football coach Vince Lombardi, J. Paul Getty’s How to be Rich, James Baldwin’s The Fire Next Time, and Bob Rafelson’s film Five Easy Pieces. On December 9th, the lecture was broadcast on Vermont Public Radio. The recording is collected in the American […]

[…]felt it would be even more difficult to try to convey that in J R than it is in The Recognitions. Working with the dialogues and working with this oral register in a way that wouldn’t sound too informal or even too pedantic, in many ways, was a difficult challenge in Portuguese. Max Nestelieiev: For me, the hardest part was, as I said, rhythm which depends on the length of the words. The other hard part was punctuation and syntax, which also depend on the length of the words and the differences between syntax and punctuation, English and Ukrainian. Yoshihiko […]

[…]fact that the fundamental disputes within copyright law effectively reiterate this hoary literary-critical debate. But the larger problem Gaddis is identifying is that in attempting to clarify experience to enable justice, legal language designed for business contracts fails to make sense of aesthetic experience without deforming it. Oscar cannot elucidate his point in the deposition, easily led into traps the Hollywood studio’s pricey lawyer sets for him. In that sense, corporate law cannot make sense of the heresy of paraphrase because it does not see the profit in the heresy and cannot monetize the particular aesthetic experience represented (and heresied). […]

[…]threaten’d in this place!” I have plans to explore the Gaddis of contracts further in later critical work, but here, in the limited space of this archive-based piece, let me emphasize the counterintuitive aspects of Gaddis’s criticism of contract law in J R by referring to one of the novel’s most adroit readers. In a 2012 review of J R’s reissue by Dalkey Archive, Lee Konstantinou notes that Gibbs is citing nineteenth-century English jurist Henry Maine’s ideas, in Ancient Law (1861), about the movement from anchoring life in social institutions and their often hierarchical networks (Status) to grounding it in […]

[…]regrettable. Gass continues, “I could see [Gaddis’s] youthful love glowing plainly when our group visited Dostoyevsky’s apartment. The sight of the master’s desk actually wet Willy’s eyes. I envied him. When my eyes moistened, it was only for Bette Davis, and such a shallow show of weakness made me angry with my soul” (196-97). Their opposing opinions on Russian authors stand out because in practically every other way Gaddis and Gass were likeminded literary souls, and perhaps this kindredness is most plainly seen from a distance; that is, by looking at the arc of each man’s entire career. Both writers […]